Contents.
xi
CHAPTER XII.—The Fugue on a Choral
page 216
The two methods of writing a fugue on a choral, 415—The subjects taken from the choral itself, 416—Example by Buxtehude analyzed, 417–421—Example by Bach, 422, 423—The form of such fugues, 424—The entries of the canto fermo, 425—Modern examples, 426—The second kind of fugue on a choral, 427—Example from Bach's Motetts analyzed, 428—Modulations, 429—The choral introduced during the episodes, 430—Example by Mendelssohn, 431—Why the freer style was adopted, 432—The first line of a choral taken as the fugue subject; example, 433—The freedom allowed in this kind of work, 434.
CHAPTER XIII.—Accompanied Fugues
page 229
Definition, 435—Accompanied exposition, 436, 437—Filling up thin harmony, 438—Variations of voice parts, 439, 440—Independent counterpoints, 441–444—General principles, 445–448—Importance of good models, 449—Our rules founded on the practice of the great masters, 450.
